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Press Text Translated via Google:
 
As Panasonic Japan had launched a special 20th anniversary website: http://panasonic.jp/dc/20th_anniversary/column.html 

I have a pouch on my hip with a 3 stop, 6 stop and 7 & 2/3 stop NDs that I use for all my professional work. All my filters and lenses have Xume magnetic adapters on so I can quick draw 😃

I've been using m43 cameras (and now S Series too) for 10+ years. At first I used vNDs but I found they regularly caused image artefacts in different lighting situations which wasn't acceptable so when the Xume adapters came to market I quickly switched to fixed NDs. I'm pretty fast even for run and gun assignments, and used to quickly dialling in aperture/ISO to bridge the gaps in my NDs.
However, I really do want a cinema camera that has NDs built in now. The Canon C70 and Sony FX6 are well thought out and very tempting small cinema cameras. However, I'm hoping the Panasonic team have something up their sleeve. I'd say the three main things keeping me in the Panasonic camp for now are:
1) Trust in these small, bullet proof cameras in any professional environment (studio running for hours, middle of a field getting drenched by rain etc.)
2) A solid, sensible priced B Cam option (S1 and GH5s my current combo)
3) Panasonic's approach to firmware updates and giving customers all they can. No other manufacturer comes close!!
Regarding putting NDs in small bodies, I have thought before that putting a single 3 or 4 stop ND on the grip side that you could activate would be awesome. 3/4 stops is a very handy amount of ND for most situations!
Good interview, Andrew!

Slightly later than planned as a couple more things were added but AFX v1.7 is now available.
There is a quick run through of the new FOCUS RECORDER here :
 
 
The full release notes for AFX v1.7 are below :
(All camera types/Blackmagic Cameras With v7.3 installed)
New "FOCUS RECORDER" function to enable the real time recording and playback of up to two minutes of focus movements. The "FOCUS RECORDER" is accessed through the newly expanded "AFX ADJUSTMENTS MENU". New "GLOBAL OFFSET" function to provide -20/+20 cm adjustment to compensate for mounting the AFX in a different position from the original calibration point. This function is global so affects all lenses and is in addition to the individual offset available when loading a lens. The "GLOBAL OFFSET" is accessed through the newly expanded "AFX ADJUSTMENTS MENU". New "TURBO" option added to "CALIBRATION MODE" types to allow calibration at 50 ("PRECISION"), 25 ("FAST") and now 15 ("TURBO") points. Please note that although the AFX interpolation functionality obviously generates additional focus positions between these calibration points, it is recommended to use the PRECISION mode to provide greater accuracy with very wide aperture lenses. Navigation between "CALIBRATION POINTS"can now be both forward and backwards by pressing the A button on the R1 to move forward and the B button on the R1 to move backwards. Current "CALIBRATION TRACK" can be cleared and reset to its initial starting point by pressing the LOWER TRIGGER on the R1. Navigation between manufacturer names in "CAMERA" and "LENS" fields can now be both forwards and backwards by a SHORT press of the A button on the AFX to move the the next name and a LONG press of the B button on the AFX to move to the previous one. Inverted screen mode status is now stored as a global preference and recalled on each boot.

The live video walkthrough of the QuadLock functionality is here 
The AFX v1.7 firmware update will be released on Wednesday 21st and includes a possibly interesting new focus function.

I couldn't agree more about size and form-factor, and how smaller setups are more fun and, in a way, more spontaneous than larger more serious setups.
This is why, despite owning a BMMCC, I bought an OG BMPCC (the P2K!).  Paired with the 7.5/2 (giving a 22mm FOV) or 14/2.5 (giving a 40mm FOV) and the obligatory IR cut + vND + diffusion filter stack, it's a fun setup that still fits into the "tourist with camera - nothing to see here - move along" category.
Combined with the (much larger) 12-35/2.8 lens gives you great OIS and a 35-100mm FOV.  
Both combinations give a handheld setup that rivals the best cinema cameras that amateurs who haven't inherited could buy, even up until a handful of years ago.
Just for fun, here's a video from the OG BMPCC:
and even a full cine-sized rig is getting smaller and smaller these days if you want to rig it up "properly":

(courtesy of Tommy Do on FB)

Bumping this, because I'm not sure it needs a whole new post.
The second trailer is now finished, but I'd love some opinions before it goes 'live'. All comments and feedback welcome and encouraged!
 
 

Really nice Parker. What anamorphics do you use? I'm now working on a software that will integrate all steps (WB, Exp, ABL etc) to vastly simplify the workflow (and make other things possible)

Hi everyone,

Hope you don't mind that I share with you this new documentary about Blade Runner ("Blade Runner, beyond the fiction). It's available until June 26 and broadcasted on the French/German channel "Arte". You can watch it in French or German, subtitled, or in English (there are also subtitled in Spanish and Italian). I believe you can't watch it outside of Europe, but with a good vpn...
It was pleasant to watch, and I know many here especially @Andrew Reid could also be interested. Scott, actors and people who worked on the film are interviewed and share their views, their opinions on the impact of the movie and what it forecasted of our present.

https://www.arte.tv/fr/videos/089086-000-A/blade-runner-au-dela-de-la-fiction/

Cheers !

Emotive Color V5 'SPECTRUM'
The V5 'Spectrum' update is ready. The V5 emails are going out now (let me know if you haven't received it). It is the culmination of four years of engine development, and I hope you enjoy!
Emotive Color Component ('EC709')
EC709 component (Full/Theatrical) rebuilt with new engine, allowing accurate, uniform far gamut projection of Arri display table Arri Rec.2020 now used as the color target (projected within EC709 envelope); results in deeper saturated red and blue that are otherwise clipped in Arri's Rec.709 High Scale is now Full Scale (unlabeled); a direct replacement for LogC+Rec709, with notable advantages (aesthetics and gamut preservation) New Classic 'Soft' and 'Hype' variations (like V3-era 'Soft' and 'Main') Refined natural saturation model Core LogC
Fully realized uniform far gamut projection from known lower saturation samples (solves issue that caused saturated orange to twist towards red) New rolloff math; allows grayscale reconciliation of high saturation brightness values (only available for interpolated .cubes; not achievable in Matrix) Added final, fourth calculation pass (post-smoothing), which allows absolute accuracy to known sample points in final render (while retaining smoothness) Corrected an issue that allowed smoothing algorithm to clash with a 'safety lock' on grayscale hue, that could result in red-green banding near the grayscale (especially with 33x under Trilinear Interpolation); now fully smooth regardless of grayscale Misc.
New Ceiling Modifier [POST] files; allows variable highlight compression New 'Natural' profile [PRE] for GH5 (shares settings with Cine-D: -5 Sat, 200 Iso) Remade all PREs (picture profiles / exposures) Revised Pdf; Important: DaVinci Resolve - Enable 'Tetrahedral Interpolation' under Project Settings > Color Management > Lookup Tables   (allows 65x performance with 33x cubes; complete gradient smoothness - FCPX has this as default) Remade Premiere PREs with new measurements (to reflect 2021 Premiere's improved codec color); no 8-bit VLog or Cine-D PREs needed Significant revision to Premiere Pdf guide; Advanced layering section is no longer relevant, use Lumetri's luma curve (improved significantly) Gradient Test is now 16-bit png (compatible with Premiere) rather than tif Entire Matrix PowerGrade now printed directly from the engine (complete reverse-engineering of .drx format): Precise values entered directly into the curve interfaces, at maximal point density Improved engine gamma accuracy enables significantly improved base matrices New LogC Exposures feature (true exposure gammas extracted from sample data) New 4200K PowerGrade variant If you have any videos or stills you've made that you can share, I'd love to see them!
-Alex

ZRaw is an example why not to make a new Raw format. No support in Resolve, requires a plugin to work in Premiere. Now if Panasonic added Braw that would be amazing!

Theoretically, if anyone does 12-bit RAW, with a colour correction, or something else baked into the codec, it should not quality as RAW, when compression ratios are con concerned. Even if most manufacturers have their own version of RAW, with varying colours.
Or
If, there is an element of partial de-bayering within the camera itself, no matter how minor.
 
I feel Panasonic can CIRCUMVENT this shady Red Patent (reminds me of the stories regarding how how hundreds of Tesla's patents were stolen and registered as someone else's, back in the day), by having uncompressed RAW out, and then compressing it in a tiny module attached to the camera (like the original yagh module, but Much Smaller). The sole purpose of the module, apart from extra battery and memory like mini SSDs, could be for having a compassion SoC (they could throw in a 5G chip for direct broadcast or cloud storage). Compression post recording should not attract any kind of the shady Patent application issues. 

Hey guys,
Since the middle / end of last summer I've been making a feature length documentary. I have 3 more shoots to do, and then it can be finished. However I wanted to share a small teaser I've made in anticipation of sending it out to festivals etc.
I'd love to hear all feedback, comments, criticism etc. Please don't be shy!
Shot entirely handheld (apart from one shot) with BMPCC4k, Viltrox speed booster and Sigma 18-35.

Would you prefer cash or PayPal 😉
Thank you though, thats very kind
The Nano motor as is just driven with 5v, from a standard USB power pack for example, is surprisingly decent dependent on the lens that you are using.
With the cine primes from Meike like we have here is absolutely perfect.

In this multi motor setup we've got it running with a RED cine zoom but we can only use it on the iris and focus as the zoom ring is too tough for it it drive so we have to use the Nucleus-M motor for that.

Tilta do a P-Tap to USB cable for it that gives it about a 50% increase in torque so with that it would probably not have an issue.
The downside to that though is it becomes a bit more bulky in terms of the power source so if you can drive your lenses with the standard 5v then it is a much neater setup.
The problem with using older manual focus lenses is when they have stiffer zones in them and for that you do need more torque.
You can just buy the Nano motor on its own but its a good deal when bundled with the Wheel as the wheel does come in useful with the AFX too as we use it to control not just manual focus but give you the option to switch in and out of AF-C mode using its REC key which is quite convenient.
With regard to focus gears, there are a lot of resources about how to 3D print your own and Tilta do a range themselves but this company makes custom ones for specific lenses.
This is their Voigtlander page 
https://followfocusgears.com/collections/voigtlander
I have never used them so take it as info rather than endorsement !
 

AFX Update #14 can be read here:
https://www.indiegogo.com/projects/afx-autofocus-adapter#/updates/all
My understanding is that all shippable shipments will be collected by the designated shipper by April 21, 2021, except for the few orders that need to have clarification on their shipping information.
If you are an AFX campaign contributor and  have not received a sipping notification, you may wish to check the link above for instructions.
 
@BTM_Pix Thank you for all of your hard work in making this happen!
It is obvious that you are not only an extremely talented designer, prodigy developer and engineering genius, but also a person of integrity, commitment and follow through.
I am glad I invested in AFX and look forward to supporting future CDA-TEK product releases.
Thank you for making my filmmaking technology dreams a reality!
Mark

These two pieces of software can do similar things but they really are quite different. Studio Artist is really just focussed on 2D effects like those seen in the video above, and these effects are some of the most interesting "natural looking" motion effects I have come across using affordable and quite flexible software.  
AE (aftereffects) has a lot more to offer alongside producing these type of effects, which makes the two difficult to compare. You are correct the range of things AE can do makes it quite complex, but that also means it can be deep and get you to places that other people can't recreate very easily if you are wanting to produce work that communicates using your own "voice".
The original video you posted seems to have been made using a range of analogue and digital techniques, and the techniques used in the video are used alongside the imagery to help to communicate the artist's / filmmaker's message. I don't know your intentions with the films you want to produce. But would recommend you test out different ways of communicating the things you want to say, this will show you the direction of the tools you will need.
The main reason for recommending Studio Artist was that it has a free demo which allows you to explore and see if it's useful before investing, you want to find tools that provide the flexibility to help you to tell your message. AE should also have a demo period although I think Adobe don't give you much time to see if it fits the needs of an experimental animator.
I would also recommend doing some searches for "experimental" work on Vimeo / Ubuweb to find a range of work and artists you like, as these will help you find your own voice by giving you lots of techniques to try out 🙂
 
 

I mean... that is a boat. I shoot handheld with my Pocket 4k all the time. Mostly with unstabilised lenses like the Sigma 18-35. It just depends on the look you want.
With the announcement, the thing that got me most excited is the firmware for the other pockets. The new histogram is alright I suppose, but Gen5 colour inside the camera will be great.
I also noticed the new camera shoots more versions of Braw, with Q1 and Q3 being added, so for now I'm assuming that will also come to the other cameras. Making my 2 main hopes a reality.
 

After Effects can be fun to explore once you understand the workflow, and the workflow is covered in a lot of Youtube videos so don't be too worried about a steep learning curve.
 
Also take a look at Synthetik Studio Artist they have a demo that would allow some exploration, it's an endless demo that uses a watermark so at least you could check out if it's useful for you, good luck. 

Literally, the first thing underneath the name of the camera is:

HANDHELD.....
I carefully read the page looking for IBIS, but no mention of it.  So, it's handheld for the same reason that any other camera under 3Kg is handheld.  Excuse me while I sip my handheld coffee, contemplate all my handheld lenses and handheld memory cards and type this on my handheld laptop.
I'd like to see them create the GH5 successor.  It's an entirely different market, but within reach.
People loved the GH5 for video because:
IBIS reliability, no overheating, and battery life good codecs anamorphic and slow-motion modes flippy screen MFT lens mount can adapt most other lens mounts compact and light for hand-held and gimbal use low price for the features (at the time) The BM cameras meet quite a lot of these, but for many including myself, the P4K is a mixture of things I don't want/need and the absence of things I use all the time.  I own a Micro, their cheapest current camera, and it's nothing like the GH5 in terms of usability - apart from being cheap it has almost nothing in common with the GH5 or how I shoot for that matter.  I'm aware that the GH5 is a hybrid, but I suspect many users don't care about stills, and besides, BM don't seem to understand that the P6KPro isn't a hybrid.
I think there's room in their lineup for a more video-centric camera that fits into the above spec, and it wouldn't be cannibalising much of their existing customer base, as not many GH5 fans could use a P4K, and not many P4K fans could use a GH5.  
There seems to be an entire market segment of wedding videographers, music video creators, social media influencers, who are faced with the choice of a camera that can shoot how they want (reliable in the field and fast to work with) and what they want (RAW and high-bitrate/bit-depth codecs) but there aren't many cheap offerings that span this gap.  These people are doing comparisons like A7S3 vs Komodo vs C70 and the like.  
These comparisons always have the tone of Lamborghini vs Hummer vs Mercedes S-Class - all great performers but for vastly different tasks and if these things are being directly compared then there is something wrong.  Oh, and nothing is remotely affordable.  This seems like a gap in the market to me.

I purchased both the AFX and MMX and cables.  The idea of having auto focus on my manual lenses is irresistible.
and it is more than that... BTM_Pix is making real products to meet film makers needs and that is worth supporting!
 

Thanks Seb, I always used a FF sensor also on baby hypergonar and agfa moller 19/1.5X , the stills attached are from the  baby hypergonar with helios on 5D3.
 
it's an internal clamp system made for me by a smart french guy Guillaume!

Thanks.
It will work in portrait orientation (albeit with a narrower angle) so if you are putting the camera into portrait mode then there is no need to change it but we also recommend it to be in landscape mode because that is the way the info screen on the back is oriented.
With regard to positioning, there is no limitation so you can put it in a hotshoe on the camera, or on top of a cage or a matte box or underneath the lens etc or even behind the camera if you want but obviously the only proviso is that you have it in the same position you had it when doing the initial calibration for the particular lens you are using.
If it wasn't, then its not really a big deal as you can delete the calibration from the internal database and re-do it with the sensor in the new position. Calibration is a simple process and only takes minutes.
As the AFX is battery powered and wireless (save for the small 3.5mm cable if you are using motors) then it is perfectly fine to use it handheld if you want, providing of course you respect the calibration issue.
Handheld is an interesting use case actually as with the QuadLock function you can store up to four focus positions derived from either the sensor or manually (or any combination) and then either move to them automatically with differing dissolve times or have them as targets that you focus to manually without being able to overshoot.
So using it handheld is a useful way to quickly capture the focus targets that you may use in a scene and you could even attach a small laser pointer to the top to give a visual reference while you are doing it.
This is also possible when the AFX is mounted to the camera/rig of course, and would be the more common use case for solo shooters, but there are certain situations where it could be useful, most obviously with a separate person pulling focus.
The other use case of course is for YouTube hosts to solve the "am I in focus?" conundrum because you can sit in front of the camera with it and fire it back at the camera to set the correct focus distance.
Like an incident light meter but for focus 😉
 

This looks great, appreciate the work that has gone into the development, does the module have to be positioned in a particular orientation? could it be positioned in portrait, upside down or under the lens or even hand held? 

This looks great, appreciate the work that has gone into the development, does the module have to be positioned in a particular orientation? could it be positioned in portrait, upside down or under the lens or even hand held? 

No, its now modular so that people can choose to add the functionality if they need it.
This version has continuous centre point AF-C as well as AF-S and manual focus.
The additional module provides the extra stuff.

Nice lens but I must say that shots have been fired 😉 I own the Baby Hypergonar and did own the Kowa 8 2x before I sold it. I would slow down with the Baby Hypergonar bashing. First of all, my copy and another friend who has the same lens both confirm that we could not reach infinity with the Kowa 8 2x. It is a lovely lens and you have produced some really nice images but nobody puts my Baby Hypergonar in the corner 😉